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THREE:It is worthy of remark that in the Platonic Er?s we have the germ��or something more than the germ��of Aristotle��s whole metaphysical system.135 According to the usual law of speculative evolution, what was subjective in the one becomes objective in the other. With Plato the passion for knowledge had been merely the guiding principle of a few chosen spirits. With Aristotle it is the living soul of Nature, the secret spring of movement, from the revolution of the outermost starry sphere to the decomposition and recomposition of our mutable terrestrial elements; and from these again through the whole scale of organic life, up to the moral culture of man and the search for an ideally-constituted state. What enables all these myriad movements to continue through eternity, returning ever in an unbroken circle on themselves, is the yearning of unformed matter��that is to say, of unrealised power��towards the absolute unchanging actuality, the self-thinking thought, unmoved, but moving every other form of existence by the desire to participate in its ineffable perfection. Born of the Hellenic enthusiasm for beauty, this wonderful conception subsequently became incorporated with the official teaching of Catholic theology. What had once been a theme219 for ribald merriment or for rhetorical ostentation among the golden youth of Athens, furnished the motive for his most transcendent meditations to the Angel of the Schools; but the fire which lurked under the dusty abstractions of Aquinas needed the touch of a poet and a lover before it could be rekindled into flame. The eyes of Beatrice completed what the dialectic of Plato had begun; and the hundred cantos of her adorer found their fitting close in the love that moves the sun and the other stars.Plato had begun by condemning poetry only in so far as it was inconsistent with true religion and morality. At last, with his usual propensity to generalise, he condemned it and, by implication, every imitative art qua art, as a delusion and a sham, twice removed from the truth of things, because a copy of the phenomena which are themselves unreal representations of an archetypal idea. His iconoclasm may remind us of other ethical theologians both before and after, whether Hebrew, Moslem, or Puritan. If he does not share their fanatical hatred for plastic and pictorial representations, it is only because works of that class, besides being of a chaster character, exercised far less power over the Greek imagination than epic and dramatic poetry. Moreover, the tales of the poets were, according to Plato, the worst lies of any, since they were believed to be true; whereas statues and pictures differed too obviously from their originals for any such illusion to be produced in their case. Like the Puritans, again, Plato sanctioned the use of religious hymns, with the accompaniment of music in its simplest and most elevated forms. Like them, also, he would have approved of literary fiction when it was employed for edifying purposes. Works like the Faery Queen, Paradise Lost, and the Pilgrim��s Progress, would have been his favourites in English literature; and he might have242 extended the same indulgence to fictions of the Edgeworthian type, where the virtuous characters always come off best in the end.